Southern Cross welcomes Katie Noonan

17 Pages·2017·1.62 MB·English

by  Leigh Carriage

Southern Cross University
ePublications@SCU
School of Arts and Social Sciences
2008
Southern Cross welcomes Katie Noonan
Leigh Carriage
Southern Cross University
Publication details
Carriage, L 2008, 'Southern Cross welcomes Katie Noonan',Voice of ANATS, vol. 21, no. 2, p. 4-5.
ePublications@SCU is an electronic repository administered by Southern Cross University Library. Its goal is to capture and preserve the intellectual
output of Southern Cross University authors and researchers, and to increase visibility and impact through open access to researchers around the
world. For further information please [email protected].
Voice of ANATS
V O L U M E 2 1 , I S S U E 2 . J U N E 2 0 0 8 .
Behind
Southern Cross University welcomes Katie Noonan.
every great
singer
there’s a

great

teacher!
INSIDE THIS
ISSUE:
Editorial 2
Letters to the 2
editor
President‘s 3
Report
Interview with 4-5 Pictured above: Katie Noonan and Leigh Carriage at Southern Cross University.
Katie Noonan, by
By Leigh Carriage. highlight a performance by Katie. The workshop
Leigh Carriage
began with a forty-minute interview and
In April this year Katie Noonan gave a two-
Chapter news 6, 7
discussion, on vocal approaches, techniques and
hour vocal workshop to students in the
practice. We then explored industry questions
Malcolm 8 Contemporary Music Program at Southern
related to professionalism, management, touring,
Martineau visits Cross University. The workshop included an
recording and the voice. (Continued Page 4)
Adelaide, by interview, student performances and the
Norma Knight
Thank you Lesley 8 The ANATS 20th Anniversary Conference in Perth awaits you!
Purvis
Australian Voice 9
A warm hello from WA to Conference website for easy The Call for Papers aroused a
Reaches the
all! We are in wind-up mode access. Your individual good response. The closing date
crossroads, by
for your forthcoming Membership number is was requested to be extended
Adele Nisbet
conference and are delighted obtainable from Milan at the which was agreed but now is
Practice makes 10, registrations are on the Australian Professional Centre closed.
perfect, by Peter 11, move. which will make processing
Disappointingly, this did not
Luff 12 your form so much faster. We
The Conference Brochure produce any further
Vivid Voices 13 AND Registration Form is urge you to access this where submissions.
Report, by Cathy on the National ANATS possible!
Continued Page 6: WA Chapter.
Aggett
Vale Lois Bogg, by 14
Angela Giblin
Books For Sale 15
National 15
Council Contacts
Calendar 2008 16
Editorial PAGE 2
Jessica O‟Bryan,
As I sit in my hotel room in trains that rattle past my house and friends and all the
Editor sunny Mount Isa in early June, I at all hours of the day and wonderful people in the music
reflect upon the many events night. Finally spending more industry I‘ve come to know and
that have taken place for me than weekends with my love.
this year. How quickly the year husband and discovering that,
But for others in our
has flown! Six months of living yes, I like it, I like it a lot!
organization, much greater
in my adopted city, Brisbane, Setting up my new business and
change has occurred: some
coping rather well, I think, with discovering to my joy that I
wonderful, some very sad. We
the heat and humidity as I work really like working for myself,
have begun a new column on
for Opera Queensland. even though I can‘t afford to
page 14 which brings news of
Travelling throughout pay myself a salary yet.
members, including births,
Queensland, discovering just a
And, of course, the down side. deaths and marriages. In
small section of this enormous
Missing moody, energetic particular, we say goodbye to
state, such as Emerald,
Melbourne with its frenetic the much loved Lois Bogg, a
Clermont, Mount Isa, Mackay
pace and appalling traffic. most admired and respected
and Ipswich; getting to know
Missing my beautiful boys as member of this association.
the Opera Folk in my new
they complete their schooling
For other news on the
Check out the town. Learning to love the in Victoria. Missing my family
happenings of our State
fabulous and
informative
Chapters, please refer to pages incredibly lucky to have this grateful to say; I have come out
interview with 6 and 7 for information. And opportunity to observe the of it stronger and wiser in my
check out the new ―Letters to teaching styles of other singers; dealings with others. In Cathy
Katie Noonan
the Editor‖ Column! to engage with a stage director Aggett‘s Vivid Voices article on
by Leigh
on a weekly basis, and to learn page 11 the observation was
I have spent much of the year
Carriage! so much from my colleagues. It made that students really
‗team teaching‘ with Opera
has not always been easy. benefit from team teaching. So,
Queensland‘s Moving Opera
The July Often, singers and teachers where you can, take the
program. It occurred to me
have healthy egos that can opportunity to engage with
edition that singing teachers do not
preclude a joyful interchange of your fellow teachers in a team
often have the opportunity to
includes reports
ideas and techniques. We can teaching environment.. Come
engage with other singing
from be noisy, arrogant and to ANATS based work shops
teachers in a classroom
disrespectful to our and conferences, and enjoy
workshops, an context. Even classroom
workmates. Interruptions and learning from others. I look
teachers do not always have
article by Peter
‗talking over‘ are common. But forward to seeing you in Perth,
this opportunity to interact
Luff on practice the wealth of knowledge I have in September!
with other teachers during the
gained from my experience has
regimes, news, act of teaching. So I‘ve been Jessica

been enormous. And, I am
reviews and
more. Letters to the Editor.
Australian Songs. Why are in Australia? This reluctance flows onto
Disclaimer: The they not being heard? It is not as though I‘m about to the re-publishing of works
that they have inherited as a
views expressed in As the youngest son of an Aus- magically reveal the answer. I
result of their ―take-overs‖
this publication are tralian composer and now a remain as puzzled as the rest.
of the older Australian pub-
not necessarily publisher of Australian composi- I‘m looking for ideas so that the
lishers such as Palings and
tions by many contemporary matter may be constructively
endorsed by the
Chappells and many others.
Australian composers, and a nice addressed. Below are two only
Editor, National These past works run the
balance of deceased composers, ideas as to why this phenome-
Council members strong potential of being lost
I am asked and, in fact, I ask non exists.
or affiliates. by the publishers hoarding
myself on a daily basis, the very
There is a strange reluctance
question in this title. Evidence them. When approached,
on the part of the larger pub-
they will release a work but
points to the national pride held
lishing houses to accept the
not before the payment of a
by Europeans and Americans in
vast number of highly talented
VO ICE O F substantial fee.
their composers, both past and
Australian composers offering
AN ATS
contemporary, so what is wrong Continued page 5.
works for publication today.
students along this path – doing all we can Let‘s not forget the PAGE 3
VO LUME 21, ISSUE 2.
to help develop their sensitivity, discipline International
President’s Report. and endurance. It‘s sometimes easy for us Conference of Voice Teachers in Paris
to forget that we are assisting people of all next year, either – a wonderful
ages to become better citizens through opportunity for international networking.
our work with them. As I speak with At these events, we won‘t always agree

pedagogues across the country, I am with each other (imagine how much
thrilled to see how well ANATS members dynamism we would lose from our
manage to work with students in this way association if we did!) but we will actively
– opening up new possibilities for students and openly share our experiences and

who come to us for a myriad of reasons. learn from the experiences of others.
It‘s a great responsibility, but also a great The four-year cycle of National
privilege. I have to ask myself what it is conferences (every second year),
that ANATS does as an association that international conferences (every fourth

contributes to this growth. A few year) and internships (every other fourth

thoughts: year) are provided so that members have
Dr Scott Harrison, National
consistent access to new ideas from
1. There is the opportunity to meet
President, ANATS leaders in the field.
together to share ideas. From informal
Teaching music is not my main
gatherings to chapter committee meetings, 2. We offer a standard of pedagogy.
purpose. I want to make good citizens.
State-based events and National The ANATS code of ethics will soon be
If children hear fine music from the
conferences, we seek to provide supplemented by the Australian Society
day of their birth and learn to play it,
interactions between singing teachers. Our for Music Education (ASME) Studio
they develop sensitivity, discipline and 20th Anniversary Conference is now just Music Teaching Ethics and Guidelines.
endurance. They get a beautiful heart.
a few short months away and you should There will be an opportunity for
(Shinichi Suzuki)
already have conference brochures and consultation on this document in August
What a responsibility we have! It is up to registration form. Additional copies are at which time I will ask for submissions
us, as teachers of singing, to guide our available through the ANATS webpage. from the National membership to
develop these guidelines further. This is ICVT Paris 2009: are you going?
an important initiative for studio teachers
and one that will potentially bring greater
credibility to our association and its work.

3. There is an opportunity to engage
in and respond to research in our
field. Australian Voice is one of the few
academic journals in the world dedicated
to the singing voice. What a wonderful
asset to our association! Soon, up to
40000 libraries across the world will have
access the articles in our journal, as a
result of National Council‘s recent
decision to digitize Australian Voice. Our
journal editor, Adele Nisbet; has penned
an article that appears elsewhere in the
Voice of ANATS in which she explains
the changes and the impact this will have
on members.
I hope this has provided some stimulus
for you as you work each day in your
studios. There are many more reasons to
teach singing and to belong to this great
association. Why not share them with us?
How? Through Voice of ANATS, through
our on-line forums, through the post-
graduate student network and through
our chapter events and National
conference. Speaking of which….See you
Scott
in Perth!
Interview with Katie Noonan. PAGE 4
Continued from page 1.
Leigh: Do you practice these days? If not now then what sound… actually pregnancy has helped create a bigger sound. I
and how much did you practice early on in your career? have focused on intonation. My voice is constantly changing, as
Katie: Practice is integral, it‘s easy to get lazy and forget your does life.
technique. You constantly need to check in that you are doing
the right thing. Touch base with your coach/teacher regularly.
Leigh: What are some of the key ingredients of a great
It‘s equally important to constantly challenge your technique –
vocalist/performer? Good pitch, originality, passion etc?
like projects with The Australian Chamber Orchestra and Paul
Grabowsky. To practice new things, to take new challenges – Katie: The most important thing is to sound like your self – all
update piano or guitar skills. Using some classical pieces such my idols do…so do not imitate, stay true to your vision and
as Bach is a great place to regroup and get in touch again with passion. Pitch is extremely important – work at it - learn an
technique, for me – diaphragm support and breathing, line, instrument to help. I think it‘s vital to think of yourself as a
vowel shapes, phrasing, diction – everything is tested by Bach! musician, band member, one timbre of many…not the singer out
front detached from the musical communication within. Don‘t

push beyond natural capacity. It‘s important to be able to
Leigh: When you are on tour what do you do to take care communicate to all musicians and instrumentalists. You need to
of your voice? be able to be a good reader so sight-reading is very important as
Katie: I drink lots of water and try not too much alcohol or well as knowing the terms, chart and language etc. Lastly record
caffeine. Rest as much as possible, not too much unnecessary or film yourself; it‘s a great learning tool.
talking, so no loud bars, clubs, gigs (shouting), lubrication –
lozenges etc. Eating well is very important as is exercise and
Leigh: Do you write better by yourself, or do you prefer to
vitamins are important as touring is taxing.
write in collaboration with others? Why?

Katie: I ultimately prefer writing alone – I feel I guess I can be
Leigh: Has your voice changed over this time and how? most myself alone, no self-conscious thoughts, less doubts. With
Katie: I have more line and more air flow control – a bigger songwriting this has been harder in my new (wonderful) life as a
“Katie gave me some really constructive and encouraging feedback on my personal style and technique
and on my interaction with my accompanist. This was an invaluable experience.”
Ella Mingaye (SCU vocalist).
mother – I have a lot less time alone, which is less time to get Practicing a lot, particularly in your embryonic years is integral
away and have solitude. So I need to re-evaluate my writing that way it just becomes part of you, a subconscious thing and
environment. However co-writing is fantastic – you surprise that leaves you more headspace to be in the moment and
yourself and that is inspiring. It‘s great to work with different exchange with music/musicians.
people with different strengths to yours – you can write things

you would never do alone and that can only be a good thing!
Leigh: Do you have a preferred 'voice' /persona,
It‘s just important to remain yourself and not get railroaded by
perspective from which you write, lyrically? Are your songs
big personalities or pushy types.
primarily from your own life experiences, or are you a

storyteller---other characters, fictional or otherwise? Which
Leigh: Do you write the music or the lyrics first? Is one is easier for you?
more important to you?
Katie: Ultimately I write from my point of view…. and I like to
Katie: Well both are equally important, lyrics are harder for be as honest as possible. Occasionally I write as the third
me, every song is different – some gestate over years, some person, it kind of has an anonymity that is liberating again that is
come immediately. I am constantly scribbling lyrics, notating something that totally changes and needs to change as you
little melodic ideas…one day they may meet up and work! evolve…like your music or vocal technique, your writing style
needs to be challenged and re-evaluated along the way.

Leigh: Was music theory a part of your training? To what
extent does musical theory influence/inform your writing, Leigh: How did your new album Skin come about?
or do you just 'go' with what sounds good?
Katie: I felt myself writing music that I knew didn‘t suit George/
Katie: Ultimately theory and practice are vital, they are the Elixir and I was ready for the challenge of doing it alone – which
best tools to help you be a better musician, so the more tools was scary and liberating all at once. Pregnancy and new life with
you have the better. But - most importantly – in the moment my family --- new beginnings with my love-soul mate…. have
of performance, you do not think about these things and been the main themes. Focusing on motherhood came at a time
succumb to the magic. when George needed a break, so it was perfect timing.
Interview with Katie Noonan. PAGE 5
Leigh: Skin is a very organic sounding album --- not and off stage. So don‘t dream small…dream big – life is yours to
digital? More of an analogue sound why? claim and make the soundtrack too.
Katie: I found myself inspired by soul/groove music more – Katie ended the workshop by performing two of her original
60‘s vibe. Marvin, Donny, and Aretha…. I wanted to record songs Butterfly and Send Out A little Love. The workshop was
it as organically as possible, totally live to tape, no digital in a great success and motivator to our students.
tracking. I think it makes you play and sound better, it feels
Leigh Carriage has been
better. I think live is the only way to record – you capture
Head of Vocal Studies
the magic/the air in the room/the communication to tape.
since 1998 in the
There is too much music nowadays that is digital, edited,
Contemporary Music
tuned etc…too perfect, its just not human. I have never
Program at Southern
used auto tune, no tape editing…I need my vocals to be one
Cross University,
take mainly. Imperfections make it real and honest.
Lismore. Her festival
performances include the
prestigious Monterey Jazz
Leigh: What is the best career advice you've been given?
Festival as well as Byron
Katie: To know about all the facets of your career…
Bay Blues and Roots,
musician first and foremost… but you need to be a
Woodford Folk,
businesswoman and you need to know how you are being
Melbourne International
marketed, promoted, need to maintain your level of
Women‟s Jazz Festival
professionalism on and off the stage, need to understanding Leigh Carriage, Head of
and Sydney‟s Newport
budgets, marketing, royalty statements, touring issues, Vocal Studies, Southern
and Manly Festivals and
Cross University.
recording skills etc. I feel too many musicians release this
more recently the North
power and end up unhappy. It is a lot more work but
Coast Bangalow Jazz Festival. Leigh's first critically
ultimately more rewarding. There is a lot of unprofessional
acclaimed CD, 'Until', was released in 2004. In 2006 she
behaviour behind the scenes…the real pros don‘t party
released a dynamic live recording, 'On Impulse'.
hard, they work hard and have a strong business ethic on
Letters to the Editor Frequently Asked Questions
(from page 2) This amounts to a two-pronged attack on I recently received emails from members worried that they had
Australian composition by the very people who have the been asked to submit articles for Voice of ANATS without
resources to promote it. One prong directed at shutting knowing anything about it! As a result, here‘s a little list of FAQs
away the past and the other at ignoring many contemporary which should answer some of those pesky questions you‘ve been
composers. dying to ask but didn‘t know who could answer them.
The inclusion of Australian composition on musical Question: Submission? What submission?
examination syllabi also needs reviewing. We have in Two weeks before the closing date of submissions for articles to
Australia a rich legacy of Australian works many written Voice of ANATS, I ask Milan from our fabulous Secretariat to
before the 1970‘s. I feel that there should be no date send out a MASS EMAIL to all members reminding them that it‘s
restrictions placed on composition inclusions in any syllabus. nearly closing time. You don‘t have to submit something if you
If a work has musical and artistic integrity its inclusion on don‘t want to, or if you are no longer the publicity officer for your
any syllabus should be mandatory. It is noteworthy that of chapter (or secretary, or even President). I don‘t personally write
the twenty-seven songs included in the Trinity London out 400 emails to individual members, we have better ways to do
Singing syllabus quite a few were written in the 1930‘s and things now! DO NOT REPLY TO MILAN!!! Don‘t press
1940‘s. Why are not more Australian songs appearing in the automatic reply to the email, write to me by clicking on the
other Australian Examining bodies‘ syllabi? highlighted email link with my address on it!!
Maybe if we can seriously address these two issues we can Question: Where can I find info on prices for Voice of
go a long way to placing Australian music on the map and
ANATS advertising?
take a justifiable pride in our Australian composers.
On the website, under the heading Publications. Scroll the pull
Brennan Keats, Wirripang Publications. down menu until you reach Voice of ANATS, and you will be
magically escorted to the page with all the helpful stuff on it, like
Letters to the Editor are freely expressed opinions which are not
prices, submission dates, and submission requirements.
necessarily representative of views held by the Editor or ANATS
members. Please send opinions and letters via email to: Question: Can anyone submit articles?
[email protected] Why, yes they can. Providing spelling is good and the article is not
Anonymous letters will not be published. selling a product which ought to attract an advertising fee!
Chapter News PAGE 6
Discussion also covered areas such as:
ACT Chapter
 Downloading of music from the internet to computer, use of
‗I tunes‘ and ‗YouTube‘ etc for contemporary studios.
We held our AGM in March, and were delighted to welcome
Rosemary Lohmann and Helen Swan to the ACT Chapter  Internet sites for purchase of printed music and CDs (which
Committee. allow you to view and print through your own computer in
any key) such as Schubertline.com, Sheet Music Plus.com,
The ACT program for 2008 is well under way, with a Mature
Musicnotes.com, Sheet Music Direct. Committee members
Age Soiree taking place on Sunday April 6 at the home of
Rosemary Lohmann and Michael Politi have come up with
Helen Swan. Helen accompanied all the performers in a re-
the excellent idea of collating a list of useful websites-I can‘t
laxed and informal environment, in addition singing a duet
wait to see it!
with Elisabeth Mackay. All sang well, and most stayed for
delicious afternoon tea. A warm thank you to Helen for her  Second hand music sites and businesses (for those out of
hospitality, and for such a fine musical contribution! print requirements) such as Kay‘s Music, Da Capo Music and
A Teachers‘ Forum on Sunday May 18 focused on Repertoire AbeBooks.
for the Young Singer.Eight teachers met at the home of Helen The discussion continued around an excellent afternoon tea and
Swan. all agreed it had been time well spent. Our thanks to Helen and
It was a very successful exchange of ideas and music. Many her husband Lyn for opening their home, and their warm hospital-
brought some music along. ity.
There was considerable interest and discussion around the A Pre-Exam Workshop will take place on June 1 at St Philip‘s
Zoom H4 recorder, which a number of us use in our studios. Church, O‘Connor. Also in planning is a Pre-Eisteddfod Work-
Helen was able to demonstrate how she uses it in conjunc- shop on 17th August, also at St Philip‘s.
tion with her laptop, sound card and usb stick for the student We‘re also planning a Professional Development Day in mid-
to take from the lesson. Others have their students bring October, October, focusing on Dalcroze for Singers. Watch this
their own sound card, and then take it home to use in their space!
own computer, and/or were able to load into the teacher‘s

computer and then email to the student. All agreed that the
recorder is a great addition to their studios. Angela Giblin, President, ACT Chapter.
WA Chapter SA Chapter
Continued from page one.
Our chapter has been involved in three teacher training events so
Fellow members - Perth is a boom city and we cannot em- far this year. In March we supported the AMEB seminar on the
phasise too strongly the need to BOOK ACCOMMODA- new Singing for Leisure syllabus which was very well attended and
TION now! ANATS was introduced to many singing teachers who had not as
yet heard of our association. The following seminar that was
National press has expounded Perth hotels being 'maxed -
offered to teachers in April - Singing Tips for Singers and Teachers –
out' most of the year - this is fact!! We don't want to lose
was extremely well attended. Beverley Peart, our past president
delegates due to oversights in booking accommodation. Be
and a highly respected teacher in Adelaide, expertly took this
Early Birds in every sense!
session that stimulated and energized those present. Of particu-

lar interest was her teaching demonstration with students who
Suggested websites to visit may include: www.pcb.com.au,
had specific technical issues that they were working on. There
www.experienceperth.com ; and www.perthcc.com
were quite a few requests for more of the same.

As I write this, our members are also enjoying the masterclasses,
These and other suggestions are accessible from the National
lectures and performances being given by visiting international
ANATS conference website. We look forward to 'Sing into
pianist and vocal coach – Malcolm Martineau. We had a master-
Spring' being afantastic success and meeting with old and new
class for our members on May 27 in which three students and
colleagues during September 18th - 21st 2008 in Perth, West-
their accompanists participated. Malcolm‘s comments were bril-
ern Australia.
liant and demonstrated his incredibly vast and deep experience in
Megan Sutton, Secretary, WA Chapter. the Art Song genre. He accompanies many of the world‘s leading
singers and has performed a vast repertoire of Song including the
complete songs of Debussy, Poulenc, the Britten folk songs, and

the Beethoven folksongs. He reminded us beautifully that the art
of storytelling is an essential part of the art of song performance.
Stella Panozzo, President, SA Chapter.
Victorian Chapter NSW Chapter PAGE 7
On 20 April the Victorian Chapter held a highly successful Australian Song.
Victorian Certificate of Education & International
The committee is in the stages of preparing for our third and last
Baccalaureate Masterclass with Master Teachers Susan Breen-
workshop of the year on 16th November. The A.G.M. will be part
Clarke for the Classical syllabus and Katrina Wellins for the
of the day. Studio teachers and HSC teachers and students can
Contemporary syllabus, accompanied by Lewis Plumridge and
hear an overview of the development of song in the styles
Susan Crawshaw.
represented, and shown some features which make it distinctly
Thank you to Carole McKenzie and Susan Crawshaw for Australian.
organising this well supported event.
We have at least 4 specialists in different styles, who will work
Unfortunately, the events with Connaitre Miller had to be with singers, offering teaching points and ways of approaching the
cancelled due to Connaitre suffering ill health and unable to songs, as well as pointing out special features. There will be time
travel. We trust she is improving and hope to have her out for questions and a trade show.
here next year.
Vivid Voices.
On 27 July we will be holding a day long workshop entitled
One of ANATS‘ aims is to reach out to the community and give
Tools For Singing Teachers at the Statewide Resource Centre,
ideas to singers and teachers , for example music high school
at 150 Palmerston St Carlton, which will include sessions on
teachers who are training students in school music programmes
the use of technology in the studio. We look forward to
and choirs.
meeting many of you at this event.
Recently at Kings School, Parramatta, the audience received

teaching and performance tips across the styles, repertoire ideas,
Wendy Todd, President, Victorian Chapter some points on inspiring young singers in solo and choral
situations, watched a master class and heard some of the myths in
vocal pedagogy being replaced by fact, as well as being entertained
by two wonderful young choirs.
Dr. Jean Callaghan, Sonny Chua, Di Hughes, Kathleen Connell Our committee is continuing to plan for future activities, and at
and Penny Pettigrew were our talented presenters and thanks our last meeting we were heartened by the number of feedback
go to Kathleen Connell, Cathy Aggett and Di Hughes for the forms we received. The constructive criticism and suggestions of
work in putting it all together. topic ideas gave us plenty to mull over.
The future. For next year‘s state chapter symposium we‘re leaning towards
the idea of revisiting the issue of young voices with a focus on
The National conference is fast approaching and I am keen to
Primary School age. We‘ll do our best to make this a useful day
experience the event.
for people out there at the coalface.
We are looking to future projects, especially in vocal
We‘ve formed a sub-committee to start planning for the National
pedagogy, and will continue to develop the Local Groups and
Conference here in 2010, (yes I know we haven‘t even had this
Teach-ins, which help build connections between members
year‘s yet), and hope to have a date in place by the Perth National
and others.
Conference. We‘re also somewhat nervously congratulating
Good wishes go to one of our committee, Judy Marshall-
ourselves over being given the green light to be the bid city for
Schutte who has resigned for personal reasons.
the 2013 ICVT. (What were we thinking, and yes we know we
haven‘t even had 2009 in Paris yet).
Carol-ann Bentley, President, NSW Chapter. We plan on combining our AGM with a workshop of some
description again this year since it was so well received last year,
Queensland Chapter but more about that later in the year. With every best wish for
the ensuing months,
Geoffrey Ashenden, Vice President, Queensland Chapter.
I write this on yet another beautifully mild and sunny Brisbane
―Passaggio 2 Perfection‖ invited guest speakers Dr Rowena
morning as I reflect on the activities of the Qld chapter so far
Cowley, Peter Luff and Irene Bartlett to deliver fascinating
this year. (Sorry, one can‘t help but boast about the weather.
lectures on various aspects of Singing technique, Practice
It does make one so annoyingly cheerful.)
techniques and the Brain Voice Connection. For more
Our annual state chapter symposium this year, ―Passaggio 2 information on Practice techniques, please read Peter Luff‘‘s
Perfection‖, was held in mid April at the Brisbane Convention inspiring article on the delivery of Practice modes for musicians
& Exhibition Centre and was, as you will have read, a on page 10 —his ideas can easily be applied to singers, and offers
resounding success. With nearly 70 registrants, including singing teachers alternative methods of ensuring students practise
visitors from interstate and regional Qld, we feel gratified that efficiently and effectively. And, yes, we all have problems with
we‘re meeting the needs of members in such a positive way. Practice and Practise! Jessica O‟Bryan.
Malcolm Martineau visits Australia. PAGE 8
By Norma Knight Accompanists‘ Guild of SA Inc‘s 25th Anniversary celebrations. The
inaugural Festival of Accompanists and Associate Artists will take

place from Friday 30th May till Sunday 1st June. During the week
WORLD FAMOUS ACCOMPANIST VISITS
leading to this much-anticipated event Malcolm has been Artist in
ADELAIDE.
residence at the Elder Conservatorium working with singers and
instrumentalists.
Malcolm Martineau is one of the leading accompanists of Linda Larter (student of Norma Knight) sang Die Stille by Schumann.
his generation and currently tours and records with artists This is the 4th song in the Liederkreis Cycle coming after the
such as Barbara Bonney, dramatic Waldesgespräch. As such it is meant to be almost a piece
Bryn Terfel, Dame of fairy floss! She was encouraged to find more lightness and almost
Felicity Lott, Frederica breathless excitement in the opening phrases, and then to soar with
von Stade, Thomas the bird in her desire to be with her beloved before realizing that it
Hampson, and Angela was supposed to be a secret. The piano part played by Malcolm Day
Gheorghiu. was likewise directed to be more leggiero and only to lean on the
few phrases that were marked legato.
Adelaide ANATS
members and their The second singer was Lisa Cannizzaro (Guila Tiver) who,
students were fortunate accompanied by Julie Sargeant, performed O wüsst ich doch den
to have an evening Weg zurück by Brahms. This was an extremely polished
recently with Malcolm performance but such was the genius of Malcolm Martineau that he
who is currently the was able to suggest ways of bringing out even more of the mood of
special guest of The the song, e.g. in 6/4 time the first half of the bar is going forward but
the second half pulls back or feels confused. The diminished chords
Malcolm Martineau
aid greatly in this effect. Repeated phrases are always different, e.g.
in imagining a path through the woods, have more trees on Thank you Lesley Purvis
the second excursion! For the singer, find which word is
most important and gently stress that one. Just before the
last phrase we need to see the disappointment in her eyes Lesley Purvis (QLD Chapter member) was awarded a Certificate of
before the words ‗vergebens such‘ ich nach dem Glück‘ Recognition for her services to singing teaching and particularly
confirm it. ANATS on April 13.
The final performer was Nola Branson (Dianne Spence)
who sang William Walton‘s Wapping Old Stairs with

Malcolm Day. This is a more modern piece with difficult
PHOTO HERE.
intervals and Nola was congratulated on her accuracy of
pitch. Malcolm Martineau pointed out that Walton was
experimenting with writing in cabaret style and that Nola

could experiment with speech style singing and allow more
The National President, Dr Scott Harrison, acknowledged Lesley's
tonal colour and different emotions to bring the song to
many years of contribution to ANATS in a number of official
life. Molly is by turns sweet, innocent, wheedling, annoyed
capacities and as a colleague and mentor to students and teachers
and ultimately furious that ―Susan from DETFORD!!!!‖
of singing.
should be more prized than herself.
Lesley has been involved in ANATS since its inception 20 years ago
The evening closed with lively discussion. Malcolm
and has taught in a variety of circumstances, including private studio
Martineau has a vast knowledge of repertoire and an
teaching, secondary school teaching of singing at St Peter's Lutheran
insatiable passion for song that was most encouraging for
College and tertiary teaching at the University of Queensland. Her
the next generation of singers. We were indeed fortunate
students now sing all over the world in a variety of capacities.
to be able to have him work exclusively with ANATS
members. Lesley has suffered ill health of late and our thoughts are with her at
this time. Despite her illness, she displayed her trademark vibrancy

as she assisted at the last symposium, both as a member of the
ANATS gratefully acknowledges the collaboration
planning committee and as general help on the day, a sure indication
of both the The Accompanists Guild of SA Inc and
of Lesley‘s unwavering commitment to the association,
the Elder Conservatorium in providing ANATS
We express our gratitude, Lesley for your unstinting generosity,
members the opportunity to work with inspiring
tireless enthusiasm and devotion to the singing teaching profession.
accompanist Malcolm Martineau.
Australian Voice Reaches the Crossroads! PAGE 9
By Adele Nisbet, Editor of Australian Voice. The journal processing will be streamlined to make timelines
more realistic for both the authors and the editorial team.

Recent volumes have been difficult to produce because of sub-

missions, reviews and publication not being able to meet pub-
lished deadline dates. In fact 2007 did not happen at all largely
because of these factors. While a ‗book‘ style journal can only
Our ANATS journal Australian Voice has been a
be produced once all the copy is processed and ready, an e-
flagship publication for the Association since its
journal can publish one paper at a time and the volume for the
inception in 1996. It has presented research, discussion and
year will be deemed to be complete at the end of each calen-
practical principles for the teaching of singing and on the topic
dar year.
of ‗voice‘ in general for all this time and has earned the respect
of an international reader and contributor base. I believe that creating an e-journal will give ANATS unprece-
dented international exposure through the papers and articles
However; changes to the research imperative both in Australia
in Australian Voice accessible on the World Wide Web. The
and around the globe, and the means whereby professionals
advent of this internet system has dramatically increased the
access the latest writings in a particular field; have created a
opportunities and efficiencies to be found in accessing journal-
climate that has necessitated a new approach to the publication
based knowledge for professional development and academic
of journals and ours in particular.
research.
The ANATS National Council recently supported my recom-
Australian Voice will be included in more than 40,000 libraries
mendation by voting in favour of Australian Voice becoming an e
worldwide, including over 700 Australian and New Zealand
-journal. This means that the articles and papers will be pub-
libraries. We are also likely to receive many more subscriptions
lished by Australian Academic Press onto their website, which
and royalties for papers downloaded, which will contribute to
will directly link to our own ANATS website, thus giving all
the cost of its production.
members access to the journal.
More and more, we are all using the internet as our primary
I am aware that there are a small number of members who are
knowledge base. If I need to find information in a hurry, I just
not computer users, but I believe this should not stop the
‗google ‗it. Researchers no longer sit for hours in libraries, but
change of format; we already have a number of ideas about how
work at their computers and are able to find journal publica-
to deliver paper copies of the journal content to those mem-
tions to support the topics of their interest. Up to this point in
bers.
time, only those people who have hard copies of our journal
have had access to the information each volume of Australian
Australian Voice
Voice contains. We are about to change that in an exciting and
pragmatic manner. Australian Academic Press has the highest
goes online!
level of expertise and it has been through their urging and ad-
vice that I have proposed the change of format; and I have abso-
lute confidence in their ability to support this change.
How will this change affect you? Australian Voice is still looking
for your submissions. They will still be received by myself as
Editor and proceed through the review and revision process,
but we will be able to publish the titles of papers pending publi-
cation and hopefully the delays experienced in recent years will
no longer exist. 2008 will test the system. Very soon, the first
papers for this year will be mounted. However as the system for
accessing them through our website is clarified, I will be notify-
ing everyone both through Voice of ANATS and as a special
Memo on the ANATS website.
I am looking forward to seeing many of you in Perth to cele-
brate ANATS 20th Anniversary and on this occasion, I hope I Australian Voice is our peer reviewed,
will be able to describe and, if necessary, clarify the new system highly respected annual journal, edited
for you all. In the meantime, I will be more than happy to re- by Adele Nisbet. If you have a research
ceive research papers or articles for The Forum that you would report, article or paper that you think
like to email to me. My contact is [email protected] might be suitable for inclusion in 2008,
send it in to Adele for appraisal at
I see the decision to make Australian Voice an e-journal as one
upholding the professional excellence of our association. I do [email protected]
hope the National Council and I have your support in this.